That theme of division in relationships, either between individuals or between individuals and the world, and the attempts we make to reconcile that division is one that seems to be in all of your movies. Is that a theme you find yourself consciously drawn to? And if so, why?

"I think that reality is something so specific to the individual and is such a creation by each and every individual that reality is an illusion, really," said Wright. "And if my reality doesn't take into account your right to your reality, then there's going to be problems. I don't think that anyone has the right to press upon anyone else their reality. And I think that that's very often where trouble lies, the lack of acceptance in other people's version of reality."

So then how do we deal with that?

"We keep open minds and we accept that no one ever really knows the answers and we're all just asking questions."

As producer Gary Foster observed, another type of division and attempt to bring about harmony lies within the worlds that exists around the characters in The Soloist. "I was also inspired by the fact that it takes place in Los Angeles and explores the many aspects of the city, from the glimmering beauty of downtown to the stark grayness of skid row. One block separates them but it feels like they're worlds apart."

We asked: What was it like bringing those very distinct and different worlds to life?

"They're all kinds of mad environments&ellips; journalists are as mad as crack heads, as crack heads are as mad as musicians," said Wright. "I mean, have you ever spent any time with an orchestra? They're totally crazy. So they're all mad. Then put a film crew in the middle of it, and its bedlam. But they're all very different and exciting environments to work in, and they're all very real environments."

"As you know, we shot at the L.A. Times and Disney Hall and were the first crews to be allowed to do that," continued Wright. "It was a lovely film to make because it felt like everyone was very proud of the story. It celebrated elements of Los Angeles, and it celebrated people's humanity, really, and the humanity with such monolithic institutions as the L.A. Times or the Los Angeles Philharmonic Orchestra. So everyone was very supportive and wanted to really engage and help."

Of particular importance to Wright was actually involving the people and communities on skid row in the film.

"I hoped involving them would bring an authenticity to the film, but also would do something for them in return," he said. "It would be work, they'd learn skills and it would be something to be proud of. These people are the most disenfranchised people in American society and don't generally have a voice. I wanted our film to be able to give them that voice."

Central to Wright's work on skid row was Lamp Community, an advocacy group which offers nearly 200 private apartments to the homeless and is home to the real Nathaniel Ayers.

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